Agron was considered dead by friends and family; indeed, there are eyewitnesses who saw him die on the battlefield during the conflict in Kosovo. So it comes as a big surprise when he suddenly turns up at the door of the house where his loved ones have finally learned to live without him. Although the welcome home is heartfelt, it is short, and emotions quickly give way to the consideration of practical problems. In terms of making a living, it would be better for the family if he remained a war victim, and so Agron is forced through the compassionate pressure of his family to suppress his existence to the point of invisibility. Home Sweet Home skillfully captures the atmosphere of postwar society without leaving, even for a moment, the cramped house where we bear witness to the drama of a man who has landed himself in an absurdly inescapable situation. In his mature debut, Faton Bajraktari employs humor and understanding to relate his tale of “self-imprisonment” as, with increasing frequency, he puts the insidious question: “Is his return home really good news?”